This CD contains all of Hank Jones 1950s trio recordings (master takes), as a leader. With the exception of an odd 1964 LP of ragtime music. Jones wouldn't record another trio session under his own name until 1975.

Four bonus tracks have been added featuring the pianist in trios led by Elvin Jones, Aaron Bell and Charlie Smith.

Personnel on track #1: Hank Jones (p), Charles Mingus (b) and Max Roach (d). Recorded in New York, on April 29, 1953. Originally taken from the LP "Jazz Workshop - Autobiography In Jazz" (Debut DEB 198).

Track #14 features the same band and place but recorded on November 3, 1955. Taken from Hank Jones "Bluebird" (Savoy MG 12053).

Personnel and dates on the bonus tracks:

Tracks #15-16: Hank Jones (p), Art Davis (b) and Elvin Jones (d). Recorded in New York, July 11, 1961. Taken from the original Elvin Jones LP "Elvin! (Riverside RLP 409).

Track #17: Hank Jones (p), Aaron Bell (b) and Ed Thigpen (d). Recorded in New York, June 20, 1958. Taken from the original Aaron Bell LP "After the Party's Over" (RCA Victor LPM-1876).

Track #18: Hank Jones (p), Oscar Pettiford (b) and Charlie Smith (d). Recorded in New York, on August 22, 1956. Taken from the original 12" LP "Discoveries" (Savoy SJL 1172)._______________________________________________________

Notes:

"When you listen to a pianist, each note should have an identity, each note should have a soul of its own. Hank Jones.

-Urbanity

"Pianist Hank Jones' first LP consists of six piano solos from 1947 and four trio numbers (with guitarist Johnny Smith and bassist Ray Brown) from 1953. [...] The trio cuts are more boppish and sometimes recall the King Cole Trio. Excellent music."

Scott Yanow -All Music Guide

-Kenny Clarke "The Trio"

"This is a superb Hank Jones date; highly recommended for fans of piano trio music. In 1955, most jazz pianists were immersed in the school of Bud Powell. Jones is unique in that he developed his harmonic concept prior to Powell's ascendancy and the bebop revolution, but went on to fully assimilate the melodic vocabulary of bop. He has synthesized important elements from many great players into his own recognizable style. His versatility is evident on these eight selections. Jones plays swinging bop lines on his original "We're All Together" and his blues head, "Odd Number," displays the Powell influence most clearly. Upon hearing the delicate touch and harmonic subtlety with which Jones plays ballads - including "We Could Make Such Beautiful Music Together," "Cyrano," "There's a Small Hotel," and "My Funny Valentine" - one can imagine that a young Bill Evans was quite familiar with this recording. Jones' mastery of block chords is particularly impressive. Occasionally reissued under drummer Kenny Clarke's name, this important Savoy session also includes bassist Wendell Marshall, who had spent the previous seven years with Duke Ellington's band."